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' . p v '.' ,,*jK=- n "Gosh , eral and progressive, so it must have been a problem greater than liberalism that accounted for the church's reluc- tance to elect the young Powell as its minister. The "clamorous liberalism" that his opponents found troubling might well have been a reference to the vociferous support that young Powell sometimes gave to the Commu- nist movement in Harlem, though he himself was never a member. For in- stance, what were his opponents in the church to think when they read this report in the Age? Rev. Adam Clayton Powell, Jr. . . . told an audience. . . that he will talk commu- nism . . . and use everything he has to ad- vance communism. He said the doors of his church are open to them, and "You can come there and say anything you want to say. . . . The day when you can no longer come there and meet and protest and demonstrate in a peaceful manner, that is the day I walk out with you." Another example of his conduct that elements within the church found troubling was his marriage, in 1933, to Isabel Washington, a divorcée and a showgirl at the Cotton Club. To the conservative members of Abyssinian Baptist, she seemed a most inappropri- -- . . ate and unconventional choice for a clergyman's wife. But all such objec- tions were overruled by Powell's sup- porters in the church and, apparently, by his father's unceasing efforts at conciliation. "He may be counted on to carryon the Powell tradition," one of the older Harlem clergymen said when young Adam assumed the Abyssinian pulpit. Not only did he carryon that tradi- tion, he added to it dimensions of his own. As he later said, his father had been "a radical and a prophet," and he was "a radical and a fighter." On another occasion, he recalled, "My fa- ther said he built the church and I would interpret it. This I made up my mind to do. I intended to fashion that church into a mighty weapon, keen- edged and sharp-pointed. I intended to move the people out of the church where God was-along the avenues and byways where hundreds of thou- sands were languishing in hopeless squalor. " D DRING the Depression, Harlem helped to produce one of the more important groups of black paint- JULY 20, 1981 ': ); . ers and sculptors that have yet emerged in America. Because they were not equally suc- cessful, they were not to become equally well known. Some-like Romare Bearden, Richmond Barthé, Robert Blackburn, Er- nest Critchlow, Elton Fax, Norman Lewis, and Jacob Lawrence -have been recog- nized as being among the major American artists of the Depres- sion and post- Depres- sion eras. Others-like William Artis, Henry Bannarn, Selma Burke, Vert is Hayes, and Gwendolyn Knight (the wife of Jacob Lawrence )-were to be known chiefly within the circle of their colleagues and to ardent partisans of black painting and sculpture. As was true of the New Negro wri ters of the nine- teen-twenties, none of the thirties artists were born in Harlem. A number of them, like Barthé and Fax, had attended art schools elsewhere before settling in New York. A few, like Critchlow and Lewis, lived in Brooklyn. Gwendolyn Knight was a native of the West Indies. Others had either grown up in Harlem (Bearden and Lawrence, for instance, came there to live when they were quite young) or migrated there as adults, from different parts of the country. For all of them, however, Harlem was at the center of their social and cre- ative influence. Much of this influence was supplied by such older painters and sculptors as Aaron Douglas, E. Simms Campbell, Charles Alston, and Augusta Savage. Douglas, one of the few painters asso- ciated with the Harlem Renaissance movement, had been living and work- ing in the community since the mid- twenties, when he arrived there from Kansas. His paintings and murals were among the first works by black AmerIcan artists to reflect a serious interest in African moods and motifs. Campbell, who was from St. Louis, had also been associated with the Har- lem Renaissance; he was mainly a car- .1 ::' , "*. , "",. 4' ft: ,